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2015 was a great year for classical music performances given in New York. From some of the new productions put on stage by the Met to visiting orchestras at Carnegie Hall, the stages of New York oozed with talent. I estimate having attended around fifty to sixty performances just this year, but here are some of my favorites, in chronological order, as I look back on 2015:

This program featured Maestro Riccardo Muti conducting both Yefim Bronfman in Brahms’ Second Piano Concerto and the Schumann “Rhenish” Symphony. What I took especially from this performance was the honor of being in the same hall as the CSO brass section. Even without the leadership of Dale Clevenger, the longtime Principal Horn of the CSO who retired two years ago, the notoriously clear and rich sound of their brass section plays on. Brahms Piano Concerto No. 2 begins with a gentle horn call, followed by the “Rhenish” which gives very generous parts particularly to the horns. The symphony itself is in E-Flat Major, a heroic key and a favorite among brass players. The Chicago Symphony played it heroically at that.

Iolanta and Bluebeard’s Castle at the Metropolitan Opera, January and February 2015

With the help of two ghoulish new productions by Mariusz Trelinski, a terrifically haunting evening of two rarely staged works was presented. It is doubtful that Iolanta would have been performed at the Met without the help of Maestro Valery Gergiev, who conducted it superbly. Both Anna Netrebko and Piotr Beczala, Iolanta and Vaudémont respectively, gave proof of how their voices have grown and how they are going to take on heavier roles in the future. Nadja Michael’s intensity as Judith in Bluebeard’s Castle drew the audience in with her, as Mikhail Petrenko contrasted with an eerily passive portrayal of Bluebeard. Trelinski’s production made the evening. His use of eternally dark moving projections and ominous voices and noises coming from speakers around the house made it like a ride in the Haunted Mansion at Disneyland rather than a dismally dark experience.

La Donna del Lago at the Metropolitan Opera, February and December 2015

I had never seen such a battlefield of coloratura singing before the Met finally brought Rossini’s La Donna del Lago to the stage in 2015. Both casts, in the 2014-15 season and the 2015-16 season, were made up of all-star bel canto repertoire artists: Juan Diego Flórez, Joyce DiDonato, Daniela Barcellona, Lawrence Brownlee, and John Osborn. Each time the trio in Act II between the two tenors and Ms. DiDonato came back, I would sit at the edge of my seat, frozen and immovable, as I witnessed the “battle of the high Cs” between John Osborn and Juan Diego Flórez and later Lawrence Brownlee. Then came the final aria of the opera for Elena, “Tanti affetti”, or “so many emotions”, which is exactly how I felt hearing Ms. DiDonato nail all her runs every single time she went for them. It was amazing to not only hear a new addition to the Met’s bel canto repertoire, but to also hear an entire cast of artists who are always consistent and perpetually prepared.

As part of their US tour, the Vienna Philharmonic brought with them one of their specialities: Brahms’ German Requiem. Listening to those Viennese musicians play that music was like comfort food. It felt as if the music was coming straight out of their veins as they played and breathed together as one being. Daniele Gatti conducted gently, exactly what the piece deserves. Diana Damrau and Christian Gerhaher, both accomplished singers of lieder, gave personal and intimate performances as the two soloists. The Westminster Symphonic Choir exemplified versatility, as they sang powerfully in the trembling “Denn alles Fleisch, es ist wie Gras” and later came all the way down for a very moving “Selig sind die Toten”. One could pick up on the great amount of care given by every person on stage to deliver Brahms’ non-liturgical messages to humankind.

In April the Boston Symphony toured to Carnegie Hall with Christian Teztlaff and the Beethoven Violin Concerto, Shostakovich 10, and Mahler 6, all conducted by Andris Nelsons. The Beethoven was played tenderly by Teztlaff with a very interpretive and relatively long cadenza. Both the Shostakovich and the Mahler were fluid and chamber-like under Maestro Nelsons. Instead of going for the big band sound like many conductors do, Nelsons went the other way for a smoother, more velvety sound even out of these two huge works. His animation on the podium, even solely in his eyes as they connect with his musicians, is always worth the price of admission.

The Berlin Philharmonic is the rock star orchestra of the twenty-first century. Tickets to see them at Carnegie Hall are the highest for the entire season each year they tour. From Karajan to Abbado to Sir Simon Rattle, their sound has been transformed into possibly the best in the world as far as classical orchestras go. These rock stars gave it their all as they brought with them a cycle of Beethoven. Out of the three symphonies I saw them perform, my favorite had to have been Symphony No. 7. Yes, many complain that it is performed too often, but when it is performed that well and with such high standards as those of the Berlin Philharmonic, it is a perfect choice.

An entire section of violins sounded like one violin, their blend was that melded. The winds’ first priority was to listen to each other, as they moved and made eye contact as they commingled. Albrecht Mayer, the Principal Oboist of the Berlin Philharmonic, paid particular consideration to listening to his fellow musicians and blending his sound. The brass playing sounded magnificent. As always, they were perfectly in tune and created a big, clear sound together. Sir Simon Rattle looked like he was having a blast as he danced and leaped on the podium. At times, however, he would stop conducting the orchestra entirely, demonstrating that the trust between him and the musicians is unquestionably mutual.

To call Marlis Petersen a stage animal is an understatement. How she ran around the stage while simultaneously singing Lulu’s long and strenuous part boggled everybody’s mind. She practically won the Olympics. A busy new production by South African director William Kentridge allowed some of the attention drawn to Ms. Petersen to be drawn elsewhere, as projections of newspaper clippings and encyclopedia entries were blotted with inky drawings of people, including the characters on stage, Alban Berg, and others. It was eccentric, but for an opera as kooky as Lulu where everyone is busy dying, the production was allowed to be busy too. The Met Orchestra outdid themselves by effortlessly playing Berg’s complicated twelve-tone rows.

With 2016 coming in, I am very excited for all the performances the new year has to offer. Thank you, 2015, for a fantastic year of performance-going!

On Saturday night the Tanglewood Koussevitsky Music Shed erupted with Mahler’s Eighth Symphony. Stepping up to the plate for this colossal work was the Tanglewood Music Center Orchestra and alumni under the baton of Andris Nelsons. The massive double chorus included the Tanglewood Festival Chorus, The Boston University Tanglewood Institute (BUTI) Chorus, and the American Boychoir. The soloists were sopranos Erin Wall, Christine Goerke, and Erin Morley as the Mater Gloriosa; Mihoko Fujimura and Jane Henshel as first and second altos, respectively; Klaus Florian Vogt, Matthias Goerne and Ain Anger.

Erin Wall was a powerful presence as the first soprano, nailing every one of her many high ‘C’s. It was fascinating watching her at the end of the first movement bend backwards, grab her music stand as if she was driving an 18-wheeler semi-trailer truck, and open her mouth like a lion to finish off on her C and proceeding B flat. Christine Goerke incorporated her dynamic vibrato to reach the top of her register and to achieve proper head resonance. Erin Morely was a beautiful Mater Gloriosa, floating on top of her line as she stood far above the stage in a nook near the ceiling of the stage right side. Mihoko Fujimura and Jane Henschel were fine Mulier Samaritanas and Maria Aegyptiacas, respectively. Klaus Florian Vogt sang the outrageous part of Doctor Marianus (Mahler hated tenors about as much as Strauss did), as if he was singing a Bach cantata. It was very delicate, light, and legato, unlike how many other heldentenors have sung it in the past. Matthias Goerne sang gorgeously, exhibiting his dark and rich tone for which he was praised in his Winterreise last season at Alice Tully Hall. Finally, Ain Anger sang the role of Pater Profondus with volume and intensity.

The chorus, unfortunately, did not sound as immense as I would have hoped. In this case that could have been at the hands of acoustics, however, there were several problems with blending throughout the night and several voices stuck out. There were also times when the chorus began separating from the orchestra and luckily found its way back. I also wish there could have been more intensity present in the second part, as the closing scene from Goethe’s Faust starts from nothing and grows throughout the duration of the movement. For an orchestra largely made up of students, I thought their playing was top notch. Their playing was hesitant at the beginning, but grew to be more comfortable by the end. The brass played out with confidence, with the exception of the trombones of which I would have loved to have heard more. The wind section did a terrific job taking on the terrifying beginning of the second part, playing in fifths and making entrances out of nowhere. They managed to balance very well with each other. The strings, like the chorus, had trouble blending, and the solos for the concertmaster could have had more emotion and warmth. I also missed the sensation of the hair on the back of my neck standing up when that first E flat chord comes crashing down on the keys of the organ.

Andris Nelsons conducted with such fluidity and agility. He brought out a lot of dynamic contrast and color as he flitted and floated on the podium.

Overall, a marvelous performance was given by all. Mahler 8 is a gargantuan work that takes quite a toll and effort from everyone involved. I missed the sensation of a shaking, crumbling concert hall as the piece came to a close, but I enjoyed it nonetheless.

It is the end of May. As a high school senior, I should be excited and be looking forward to putting on makeup, my overpriced dress and shoes, and getting out on the dance floor to have a fun time at prom. For some reason, none of this sounds appealing to me. Paying $300 (dress and shoes not included) for myself, an outside date, and crappy food to be stuck in a hotel ballroom until 2:00 AM does not sound “fun”. I refuse to believe that I will look back when I am in my forties, pondering over why I chose not to attend my school’s prom. Maybe I am just a curmudgeon, but I am looking forward to prom in a different way. A different kind of prom: The BBC Proms live from Royal Albert Hall. Beginning in July over seventy concerts will be broadcast live from the great concert hall in London. This year’s program features everything from Alice Coote singing Handel with the English Concert to all five Prokofiev piano concerti. To me, this sounds far more fun, even just listening on a stereo at home, than going out on Friday night to my dreaded school prom and sitting on the Jersey Shore all weekend.

For something offbeat, Bryn Terfel will star as Tevye in a semi-staged version of Fiddler on the Roof. After his terrifyingly good performances as Sweeney Todd on the stages of New York and London last year, this is a not-miss. This will also be a debut for the Hampshire Grange Park Opera at the Proms.

To celebrate Tchaikovsky’s 175th birthday earlier this month, Valery Gergiev conducted the Mariinsky Orchestra in all three of his piano concertos with soloist Denis Matsuev. On July 28, Gergiev will accomplish a similar feat by conducting all five of Prokofiev’s piano concertos. Three different pianists will split this daunting task: Daniil Trifonov will play Concertos No. 1 and 3; Sergei Babayan will play Concertos No. 2 and 5, and Alexei Volodin will play Concerto No. 4. Gergiev conducted all five in a row with the Mariinsky in 2012. This time, however, the London Symphony will take a stab at these five monsters.

Considering I am going about my last days of high school thinking about prom as a “Dies Irae”, I think I should look forward to the Verdi Requiem with the BBC Scottish Symphony and Donald Runnicles on the podium. Three out of the four soloists will be making their BBC Prom debuts: Angela Meade, Yosep Kang, and Raymond Aceto. Karen Cargill sang with the BBC Scottish Symphony as the mezzo soloist in Mahler 3 at the 2010 Proms. For those hot days at the beginning of August, the Verdi Requiem is guaranteed to chill your spine.

I was reminded this past February how delightful a piece Die Entführung aus dem Serail is after playing the overture with my youth orchestra at Manhattan School of Music. The petite Glyndebourne Festival Opera takes the enormous Royal Albert Hall stage in this amusing work. Robin Ticciati, who most recently succeeded Vladimir Jurowski as the director of the Glyndebourne Festival in January 2014, conducts the Orchestra of the Age of Enlightenment.

On their most recent New York tour, the Boston Symphony performed Shostakovich 10 and Mahler 6 on consecutive nights. Andris Nelsons’ agile and limber movements on the podium brought joy to these pieces when I saw the BSO at Carnegie Hall in April. His stress for line and legato allows even Shostakovich’s turbulence and the pandemonium found in Mahler 6 to be lush (with the exception of the hammer blows). It will also be worth tuning in to hear John Ferrillo’s oboe playing. His cantabile and light style of playing is attractive and sweet compared to some of the pinched oboe sounds coming out of some European orchestras.

The beginning of September will bring Alice Coote singing Handel with the English Concert conducted by Harry Bicket. Last November, she and Joyce DiDonato costarred in Handel’s Alcina with the same orchestra, giving a fiery performance at Carnegie Hall. She will sing several cantatas and arias from various operas brought to the surface in the Marilyn Horne era of Baroque singing, including Giulio Cesare and Semele. Handel’s music has a way of taking anyone’s swirling, violent emotions, about the end of senior year for example, and rushing them into a rhythmic, powerful storm of sound. It seems to me like this would be much more exciting than the computer-fabricated dubstep at your normal, everyday prom.

The London Philharmonic returns to the Proms with Shostakovich 8, one of his later war symphonies. These musicians went to battle on the piece back in October of last year at Carnegie Hall, where I got to witness the low brass section give their all for Shostakovich’s demands. The trombones particularly blasted their parts, not in an ugly manner, however. Maestro Jurowski will lead Shosty 8 once again on Friday, September 4. Mitsuko Uchida will precede the Shostakovich with the Schoenberg Piano Concerto.

Last but not least, the Last Night of the Proms will be a real treat this year. Jonas Kaufmann is this year’s featured guest who has the honor of singing “Rule, Brittania!” at the conclusion of the BBC Proms season. He will also sing several opera arias, including “Nessun Dorma” from Turandot and “Dein ist mein ganzes Herz” from Lehar’s Das Land des Lächlens. It would be a dream if Jonas Kaufmann took me to prom, however, I can settle for this amazing concert.

As I reassure myself that prom is really not crucial in the grand scheme of things, which includes graduating, going off to college, and trying to make a career in music happen, I realize that listening to the BBC Proms would be an ample substitute. They always feature fun commentary and provide a niche for classical music during the summer, while New York has an awkward gap between the spring and fall. Instead of struggling to understand why I am not enjoying the end of senior year, I will look forward to all of these BBC Proms concerts in July, August, and September.